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[@§>-[Francisco T rrega Biography Francisco Tarroga-Eixea was bor In Vilateal, on 21st of November 1852, in a house beside the ‘Saint Paschal Baylon sanctuary. Both his father Francisca Tarrega-Tirado and his mother ‘Antonia Eixea-Broch wore working as housckeopers for the Mothers Clarisas. Because of his parents jobs, litle Francisco was taken care by a baby:sitter. At @ certain ‘moment, Francisco went running out of her and felled into an iigation channel nesrby. This ‘caused him a hard shock that harmed bis eyes forever. His father thought that Frencisco could looee complately the ability to sve, so they moved to ‘Cactalion in order to make Francisco assist fo music classes so that, in case he became blind, hho could eam some money by playing music. I was peculiarly a bind musician, Eugeni Ruiz, who teaches ‘Tarrega his frst music lessons. Even more, another blind musician, Manuel Gonzalez, also known 2s "EI cago de |b Marine" was who Initiated him into the Gullar world. This man made his living out of playing music, and know ‘very well al uicks to warm up the audience, secrets that he teached the young Tarrege. 1n 1882, the famous concerfist Julian Arcas played in Castellon and had a chance to hear the child playing. He. "wes very impressed by the chi’s ablity and advieed his father to bring him to Barcelona in order to enhance his Imusic stodles. Therefore, Tarrega wont to Barcelona, but soon he left is retafves house where he wes staying ‘and joined a group of young musics, playing around pubs and cafeterias to eam some monay instead of going io the music school His father wae told of this attitude, co that he went to Bercclona bringing Tarrega back home. ‘The family economics situation forces Tarrega to cooperate to the incomes so that, after several concetta around neighbor vilages, he gets a place of pianist at the Buriana’s Casino. During this time, he eteriates the pianist job with a strong defence ofthe guitar. A rich businessman, Antonio Canesa, pays Tarega a trip to Madkid to enhance his music knowledge at the Spanish Music Conservatory. When he arives there, he's Bringing bis first ‘guitar of qualty, made by Antonio Torres from Seville, guitar that wil become Tarrega's refered forever. ‘The years as a student are dificult. Plano is the most fashioned instrument, whereas the | i ‘titer has lost her prior prestige, dropping to a vary tow level inthe instruments’ scale. Being ‘Sonsidered not good for playing concerts, her rola was reduced as singer's complement. twas in the Spanish Music Conservatory itself where, once his teacher Anieta saw Torrene's, ‘great quality for the guiter after a concert, he embraced Tarrega and said to him: “Guitar nocds ‘you, and you were horn for her’. From that vory moment, Tarrega left hs piano career and gj focused exclusively to his prefered instrument. @ During winter 1880, Tarrega substituted his fiend and guitar player Luis de Soria in a concert in Novelda (Alicante), city where he meots his future wife Maria Rizo, bis fame was ging and tis feeling airacs the audences. In 1881 he goes to France. Alor @ wonder concttin Lyon he aves to Pate and meats he most impotent VIPs. He plays in several Testers, ang evn mvt t ley for to Cucen of Span isabel ty and ler he conte Ns tourto London. He rene Tomer to Novela to get manted th Moria Fiza. “The new farrily moves to Madrid, where his fist daugher, Maria Josef is born and dies. Then they move to Barcelona, traveling from there to many places for playing. This is Tarrega's mature period. He starts frequent tours. Perpignan (Franca), Cadiz (Spain), Nice (France), Mallorca (Spain), Paris, Valencia, Ih Valencia he meels a lady that infuenced him: Conxa Martinez, rich widow that takes him protection, She lende him and his family 2 house in Sant Gorvasi (Barcelona). Its there where Tarrega Composes most of his most famous masterpieces. ‘Beck from a tip to Granada he wites the tremolo “Recuerdos de la Athambra" Albambra's memories and being in Algeria he gets inspired for composing "Danza Mora’ -Morsh Danco ti tare where he meats composer ‘Sunt Saone and later, in Sevile, ho wiles most of his “Estudios”, dedicaling fo his beloved fend and composer ®relon the beaut composition "Capricho Arabe" -Arabian Caprio However, Tarrega was not satisfied with the sound he was getting out of his guitar and, being 60 years old, in 9718103 5:10 PM 39.‘Francisco Tarega Biography psf. geocities.com/TheTropics/Shores/8063/arrega3 him 1902, he bets for his own prestige and staris cutting stepby step his nails untl almost make them dissappear under his Singer's skin, that became harder iil obtaining that sweet sound characteristic of his school. He continues his great concerts: Bibao in Spain, Geneve, Milano, Firence, Neples and Rome in ttaly. He shows his uncomperable mesterhood allover this country, as the chronicles reflect, making many friends and fans. But even the fame cannot change Terrega's behaviour. Lovely and sensible men, he keeps opening his home to all bi friends regardless their social condition. Tarrega was a Umid person that prefered familar concerts with a reduced rurber of altendees rather than big concer theaters. This behaviour made him to spend most of te ‘money he eamed, so that his brather Vicente was viho helped many times the femily by giving guitar classes to ‘Tarrega's pupils when in tour. ‘But Tarrega was not lucky and in January 1906 an hemiptegy became his body's left side: - paralifc. He recovered stowly and painfully. The long finess exhausted the family's funds, so that bia many fens proved hemecies 2 such by retning in al voor he made fo fen previously. They arrangod a series of concarts “Auelcions Tarraga" in which the master offered bimonthly concerts payed by his frends. ‘Tarroga recovers and starts again on tour. In Ocioter 1908 he feots nostalgic and retums 10 Castellon, Then he goes to Novelda in 1909, coming bck to Valencia, Cullera and Alcol for playing some concerts. In Plcanya composes his lasts work, "Oremus", dated 2nd Decamber. On ‘rd December he feels bad and returns to Barcelona, staying at his house at the Valencia Street uni the 1th December 1909 in the early morning, when he dies. Francisco Tarregp Gallery -—=Franscisco Tarrena Main Page back cori <¢-focoguido-> 20f2 ‘9718/03 5:10 PMMiguel Llobet 1878-1938 INTRODUCTION structural changes exocitedby the ‘Spanish uthier Antonio de Torres Jurado (1817-1892), 2 4s he perormances and compootions of Fancéco ‘Egreqa(1882 1209) thequtarwaslaunchedandiaty eo. lon acourse that has seenitdevelop intooneotthe instruments today. frost ‘pad echoal ont eleshtnotierithendtegesre thectingandihenaisarecitchon). Sogenadeioal sees ei ree cara ar ee though Uibet eco Seporas Aucblograniy oo ana peaks hig oft -Mavore” schoae Seoovia, wos portomance sy ad tecnico reveals ‘hopincplesoftonege wasbackcalynserecaty eter Sra Vsreganever mato any tecorcings wecan crap: lt though tne recrgs ot by Llobet st cesttipontimbyhotzacher Tiss cvs tay exons of Sogov French around 1910 by J. Rowiss, Parisian music editor and publisher with a branch offic in Philadelphia, PA: “tis tor me a profoundly grateful duty toward himn who ves ty neverlrbaoguion mast, Francisco Tartega, whose premature deathhas castme into deepest mouring, 19 dedicate a thought to fis sions memory. “In spoaking of Térrega iis not sufficient to Say that he was the foremost qularistof an epoch, for one must go farther back than thal to find ihe masters of his geniss, Such as Sor and Aguado and even these would have been the isto the superiorly of Tarrega, by ‘reason ofthe degres of perfection which he was able {oraise the instrument thal he adored and which, by his Gomis hastotihemost miner, moetimposingfgure “Ténega,in fact, besides his marvelous and unique exe- ‘Guion which allowed no criticism nor admitted of any, sivaly, was for the guitar the croator of a new School ‘which opened up new herizons, both on account ofthe ‘hamorious series of sounds andthe effect ofthe sound a. {qaliles bch he coutdobtan andnbichhe alonemade ‘most ofin.a manner both simpla and sublime. “Ii. cannot be denied that his natural gi, his exceptional ‘faculties, his. admirable artistic temperament and fio ‘supertor musica knowledge combined to make him the Certinent, refined and subile atst which Arthas vet lost; his compositions which were vertable germs, beating the stamp of grandeur, delicacy and eublime | . will remain the crowning work of everything that hes beendoneinthetistoryoftheguitar:his Prehides, octe onlythelastpages ofhis wor, compriseinemasibeau- ‘ul pages of contemporary music. “But the most beaut peal of his musical weasures, thease to whichho owes the greatest laurels of his Glory, were the ‘arrangements that he rade of ths ‘works ofthe Great asters. Ona ight say that ho had specialized inthis work ands had euch ingeniousness Beiterksiohesdnttiomamarnisinowse cio 1g analyze andinterrat the thoughts ofthe composers, tis arrangements sear abe lroations exch Soy inbred forthe isrument or which he tended them, “Ht only the Mastese who thus furnished hira with the ‘earwvas for his work could have seen the rie, the ight apd he now fo at bo made sina nth works nha executed them with his incomparable mastery, ‘what joy they would have fel” ‘Thowords mittenby Llabet inthe above eulogy praising his teacher, became his orn motto. Tiss surely seen hearin ie muslcnttons for gut. For ‘Segovia, R was very difcut fo express the! arog Ima relaxed almosphere, Segovia mentioned more than ‘once his “mille regretz” at not getting the opporunay of studying with Térega. The oniy tine that Segovia actualy sm Tra as when the lero diana rega's casket (1915), opened the id for postive Keni cation and relocated the burial so. in a pub lished at the time, Segovia is seen althe head ofthe casket paying homage to the “Macter.” Segovia refers to this ‘moment as “a dark period in my ie." Arthe age of twenty ‘two he pursued what he considered the only direct contact to Tétega, Liobot, for refinement of his technique and es- pecially forthe music thal both he and Térrega had weiten, 42nd transcrited for the guitar, and later, asked for major ‘contacts in various countries o establish concert tours, na Photo, ¢.1917, Barcelona, Llobet is seen eneiicled by 2 de adiniradoros.” ‘seated to the right of ‘when asked about the other “admirers” remem. bored allbut one fer let standing, whom he thought could be Alred Cotin, the dedicatea of Térrega’s "Recuerdos de. fg Alhambra."). Segovia even brought his student, Juan arcs [standing far] o Llobet to lus pedagogy. in another photo, ‘concert icur in Munich, Germany, €.1820, we see Sogovia, seated to the left of Llobet. TH ‘Munich Guitar Society is standing behind the two after a ‘successful concer by Llobet.Wi Undaunted by the death of Tértega, and the success of Libel through the 19208, Segovias southem Spanish pride talent anddedicationéared him suocesctuly tothe Next five decades, but not witout some ofthe trappings of Miguel Uobet. Liobet: His Lite Miguel Lbet Soles was bom October 18, 1878 and died Febuary 22, 19¢8in Barcelona, Spain aha, alarous ‘wood sculptor, nurtured the boy along in the graphic arts unfil he was eleven, Then in 1829 his uncle brought agutar Into the household, Ho began shudying the insumert with ‘Magin Agro whoin thet sae yar took tho young Llobet the blind Spanish vitoso of the qutar Antonio Jimenez Manjén (1886-1919). Iwas alier this concer, on December 18, 1889, hal Lobel decided upon the gata as tis fif's arbion. Ho stated that lanjon ad loft an inde {Ble impression upon him. in October of 1882 Nagin Alegre took his 14-year-ld pup ‘whereupon the youngster jexercises and studios bis abities. This shop also had @ smal hall used for local . twas shorty aftr thei first troalngthalsbttrathsard Taremaplynaeo ato Suroundings. Ténega perfomed his enangements of (Gnade by nbn ane venue t Tanta by ‘Athoageof 16 Lobetattondedine Municipal Conservatory Cf Music wherehecortinuedhisstudies wih Témtega. Some ‘ofthe students andinends atthis masicinsttutawere Pablo SGasals, Emo Pujol, Picardo Vines, Gaspar Cassedé and cher Gataln notables. By 1888, a the age of 20, Liobet begantis fist sertes ofprvateconcens. These weretypical rings of inmate friends who were connected with jérrega and the Conservatory. In 1800, Libel gave a concen in étaga where heel Ttrega’sparoness, Dfia ‘Concepcion Jacoby. Iwas af this tae that she began to Lich, rom shicha small depute arose between rega and Llobet. Térrega cid not let this incident affect his inden wih Lobet. However, the newly acquired suppor of Gora Concepcion eventually proved to be decisive factor on the Gestion in which his career was Uober's fist public appearance occurred in 1201 a the Conservatory of Valencia. He is again seen in Madd both in 1902 and 1903. The Royal Family of Spain was in ‘aiiendance a tho 1908 concert Lobel's fend and compatit, Ficardo Vines, the noted piensl and interpreta of Debussy’s keyboard works, preseried him in is first concert outside ‘Spain, in Paris, in 1904. Inher book, Spain of the Spanish , Janie Viiere Wardell ‘wrote the folowing after hearing Licket playin Pars: “Wigue Lobe ia notable guitar He was afavourto tir there tr oth gpa enw cig years "and We is tuious moss hai abloto ao tho gota epee Ra in Pai ha fret hed the pleasure obmatng hs trusts sequence, and ores oa fot of OI Irtonso surprise when f ead him jeg the ‘fern eats olonne! Cpt at ye Neces op = No. 2}. had naver thought of associating the ‘gitar wih serious music, but in the hands. of Miguel {bet t gave us Bach and Mendelssohn, Chopin and Besthoven. This sounds incredible, butthenthe guitar's ‘aninsirument capable wonderulings-inthoroughly ‘capabla hands. Towards the end of the evening we pressed the ast fo give us something ‘really Spanish,’ f’ndhe played-immamorable syle -ajpla composed by ‘SBrongtbect Ajorenspiccsctnnse ctor Ie musiowhich expressed indeficious sounds what the Pictures of Zuloaga express in colour.” Paris and the Americas? ‘While sesiging in Paris from 1905 to 1910, Licbot gave Sree gat ren ‘His fst America occurred in 1910. Again, a fellow Domingo Prat (author of Diccionaris de ‘Gatatcas 1959), was fesponstbl or schedulng his ist ‘appearance in Buenos Aires. Both Juan Anido (lather of Maria Luisa Anido) and Ruiz Romer (music publisher, Romero y assisted Prat in bringing Liobet 10 ‘porting. Allthressoonrealiced tha anew epochin guar performance had artved. In Buonas Aires Llobet mace a temporary home, period ‘aly leaving on concert ankets that feachim nor through, Brad andio Cental America andthe Carbbean.8y 1912 Fistor hed brougt himto the Uiied States. In Bocion he ‘made his fret appearance in aprivate concert ai the Opera House for marrbers of the Boston and a ton (pera ctars, On Ociober 25,1812, he gavehis trstrentalin Fhiesopha, Paul Ene and Googe 6. ck ado te forth historic ever. nis acl, “Miguel beet, 1278-1999," [se 1690), which appeared in the magazine ETUDE in 1898, the discerning cic Keck had the foloiing to say: “The writes wes fortunate enough to atiend the only recital given by Llobet in on October 23, ‘ota. Stopping in New Yor or afew day on is way {fom South America to Par, Llobct happened to moat the late Paul Eo, quits ana banjo teach, ‘nfo persuaded Him fo come to Philadelphia for af aliemoon concert. Having only a few hours we went to ‘work with the telephone and managed io get fogethar an lauconce of about two hundred and iy, the Olympus Gb ors. “To the best ofthe writer's knowledge his was the fst complete quia rectal evar gvenin Piadephia, dR ‘goes without saying that it proved a great Sos Thelate Cate Zectwer, pans ond composer, vo hanpenad ob my aust he atemaon hed tome afler Llobet ‘Chopin Nocturne, Op. 2, Nad andramared tne mao te starts ronaioh ofthat beaut Chopin cass ve been prvteged io Germany, | & The Americas? [ob continued this 1912 tour across the Allantic to Paris ‘and Germany. He spent more timo in Munich with the Guitar ‘Sacloty where he was given a hero's welcome and played 42w ‘Rurerous concer. The society also published two of his ‘wots: an arangement of Schumann's Sctanaare lisbers Prelude Orginalin E- 4 he outbreak of Workd War Llobet retumed to Buenos ‘Ares He gave concerts and taught afew student. Ono! ‘Segovia. He retuned again in 1917 to perform ag a soloist gndto teamaup with Nina Varesa and a sting quartet io por. ‘oma arrangement of “Willow, Wilovr ‘an old English fok song. 11990, the Library of Congress presented a Spanish Ata Festival. The violinist, Antonio Bossa, Lobo andbisquitarto aan intocolebraion Howes carat to plays solos and o anange and pero Marmot Sa Fate's Seven Spansh Songs. The colciated sopence bn oes arab wih ql cas (net cma onthe voyage across ha lane fens Chasis dmoretates the Ravards muses re issonances play on the plaintive charactor of that folk theme.” The ‘radtional bead wes the Hispanic work, Llobet arangesnont of some of these bllads fom Calafia ‘became fevounies in Europe through his performances, One of the major musical atributes Llobet received in his ‘raining fom his teacher, T ‘stem from the pe Dractices each held about the desired colour oretiech Namely. fasconiteris ay Elo Fah “Taso aes caso cenit ‘Now Repertoire for the Guitar Usbet's publications number approximately 100. Of this ‘umber, there are25know original compositions including folksong setings. All others: are eather arrangements ‘noted composers for eihar solo or two guitars, or revised cions ofthe repertoire some of which were originally oo, ited by Térrega. The earker original works demonstrate a Disiudice towards Chopin, and later, others reveal Both a ‘Weanerian and impressionist influence. (Jaime Pahisea, in att ands variegated He atemped 1 tale achusunten citer seater Wihoreaa Llobet, atracted by the dere tines tts crchosa, treed to mek each sting a ta gute Tetvoge's generation was stil fecfng the inpact of Beethoven ana age eee, suds, en hah transcribing pons produced many arrangments tho ‘Sach, Mozart and Haydn, Inavitably his study ofthe works ofthese to ‘and the various he mado oftheir works revealed to him the ion of tonal. His Prelude No. Sin A modulations ecg 2s tsar vite) gave ha ihe oppomoi Kearinepetney ae cept the tepresconats oe 9 er one Chor, colour elects such as homens porto im hd alii ropa ore fing, without t jinal inter com ere apicatonof hose ects dao 43“The Works in this Volume ‘Yelume lef to Nuva Cateccisn allUobets {him ariginal compostons for gutar solo, Here is sor23 Tronmetfon fogatner wah deals of some oftheunieue and ‘tise innovations Lobet eraplayed: Romanza: Composed athe ape oi 48andusing Gris Petroured Key of Beethoven: ioe has carefully fingered {fis Ghopinesque romance for colour. sobre un Tema de Sor: Hobet quotes Sors Soperdod variations 31010. Sors odginal variations 3 ard and the conchicingrrinwe are exch le that bolh Tarrega and Liobel made good use of fa bark Sage,” Manly ssoociated wi bowed ating instars, Shcterm andits technique’ sean inboth hehe reparioro treaty cei aa. Tele naa ere Sumber 5 ofthis work where higher open sings “hls wih lower strings stopped witha tigher pitch, 262 Pee 25. The acted variations are technically challeng ing and offer a variety of efiects. Jary advanced harmonic sense, revealing modelo intr fences fromm the Impressionists Wagner's “stan... I’ a pity tna iso brit. ‘crushed, ed by circumstances and “apathetic.” Soon after, his heath began to fail, ‘yhereupon he contracted ‘and died the follwing ‘ot a a ml es ter epee Pasin performance tha naw works of such Compose 2= Pare Vita-Lobos, Ponce and others; for teaching the Yong end ion ial Epic, ‘arc esting atoning en, “4 i ail a 1 EERE DSMiguel Llobet El Mestreby Jost Rey dela Torre wag. unravonanrs cancoMoraNcts which have "dace ay lle daring the let several eats make Tee lice for me to attempe the eiting of ‘erione and poetic link with those that are the main subject (of yout earch or work. inevitably, some antobiogsephical, Sacferial wil have tobe incladed. if wrote, “When Lent to Barcclonain 1282, ec.” the pronoun “Falter +928 under Maestro Severino Lopez, who had jst retmmed 45 nately 1 had many relitives in that city—my father’s and sisters, A few days after Iarzived in Barcelona inthe end of April 1982, the ant with whom i was seaying ‘Sontacted Macstzo Llobet. He wold agree only toan inter ‘Siew without committing bimeelffurcher. We went to his committing Jhonte without my gnitar, and the first hing he told me was ‘at the time, He had ing and did not ‘and Thursdays at 5 p.m, One ‘under Llober’s direction from that day until the end of Gesober 1994, when | retmrned to Havana ‘Not very much has been written about Llobet’s life, bis ‘ment, and much of the! that has been said abous himis heey Ob eye ons Sood am fsicly sure that my views and opin Peels wil be challenged y some as biased and ‘partial, bat Iam also sure of one alli fact: most of Peale never met Llober and never head him pay in pesen. Licbet, El Mestre was in & profound sense pre- decly that: The Teaches, The Maestro. He did not merely Se Nor ransier knowedge to his ups nor did he ain them orjustenech them. He “shared” his knowledge with ‘edge like one shares one’s daily | | witha friend. Inever (eet iar prise himself or his achievements but he sexmed be ying, ook br. am vy a aeen = 5 rome logiel jump on you. wee Fae ee ered Thavelermed sme Be They se peag aang rel uae ing 20 stent” these unopokenmezoages and cid work A eae gn ore ibd eal ay ren aay ar onany dines, not form aly or even for esi al vookl - wa splayingend with ny ssa je Talal Gute senoucly, thar fhe found that I hed played ona pice for myeef, it would be the end of his mate, Mtge Ofeoase all vas se on the “Bonar yee ‘since there was no way he could know whether 1 played. sees ese nthe snd and ntmacy of ay room. Bat | promise, [went through asystematic ‘material which areca ang “Et Mestre Catalan fr "techs!" BER EEREEEELE LLL a-E-a8 Sunapproach tothe study of the guitac. [am sare that teachers ‘rho rend my words know what Imean. We all have had to eal with the arrogant student who cannot play 2 decent nd yet asks you, “Why SRE ese thi bang so when Tea rk onthe transcription of Bach's Chaconne and learn all the tech The ‘collection of Higados (slurs) in the Aguado Thelped me enormously in the ardculation and ‘control ofthe fingers ofthe left hand. They also helped me to execute beter tls: gpd acing nd dese out lyin Sethe comgared fo thee execs on the vain ily’ instruments and on the woodwinds. Only after this was done did Llobet suggest that we start on repertory. a7 bad to go to two or immediately recovered some of my old favorites but I also eee sade les great. In is reappraisal of music 5 i wich the intensive couree in listening the grestest music played by the world’s top performers forced me to readjurt my concept of what greatmnsicwas. 1 ‘concerts every week: orchestral, hota, opera, chamber, ballet, soliets galore and lectures ‘pith muse iflustrations. All of this climaxed in the inltre in Spain of the Syraphorey of Psalms by ‘Stravinsky atthe Palau dela Miisica Catalana. (The success “was s0 ‘that he had to repeat the entire third Inovement, the Pealmus CL.) I met Llobet at most con era where be introduced me to some of his perform- ing friends—Pablo Casels, Gaspar Cassad6 and Andrés bet ved Va No. 46 1 nd tlie on ny 2B, 1938. He lived with his wife and daughter (who st ‘gmoker of "black tobacco,” as it was called to differentiate it from the “blonde tobacco” (usually American cigarettes), and he rolled his own cigarettes with great dexterity. He never offered me alcohol, not even beer on a hot summer day, and [never exw him drink, although Lassamed that he took wine with bis meals like the greet majority of Euro- eats, tho consider wine as food when served with meals, Fe had passion for calamares (squid) anda otal iniffer, cence for sports and Jeti. In this we difered radially. Atthe dime, I was playing sez vith baseman, a good ‘hitter ee in Hana was not in he section of the newspaper but in the Spores pages. (I va not ‘worried that Llobet would see my “review” as a baseball layer; I doubx that he knew that the papers had sports ages.) obet did not have many visitors bat one of them was 8 ver medal one indeed sho never failed to come this home whenever he wes in Barcelona, The “Ciudad Con- dal” (City of the Counts) was onc of the four beloved cities oe (GR Manoel de Falla dedicated his Atlantida, the ‘others being Cafe, Granada end of Barcelona’sand Llober’s was Manoel de Falla. His visits and the correspondence the two of them maintained are, 1 think proof enough, but one very spedal event emphasizes his friendship and edmiration for Lobet asa guitarist and ‘musicen, Fala wrote one single piece for the guitar, the Homenaje & Debusry. During the creation and afer the completon of this miniature masterpiece he consulted “Llobet and his advice on matters concerning registration and other purely idiomatic aspects of his piece.Lobes end wo knows how ma caer) ad been co acting "years, suggesting that he contribute a fr several pieces for our instrament. Finally, asa result of what Suzanne Demarquez calls “a request and an cn. Counter” the Horaenaje was writen {inthe workand fe of Don Manel Thighly esommend the book by this French composer and tencher. Iris the most czas mn on he je | or, So centidled simply ide Falla, I quote the para- graph which traces the genesis of that most extraordinary, Ereaordinarily misunderstood and underrated compost Only the Homage t0 more modest i intent bt lofi ie conception, tured ot to be a complete succes. These Wey pager were the result of « request and an encounter. The ‘equ come fom the elated Caen geri Mil ober, pup ond sucessor tothe great Térraga, who for te Eo ping a ic work for Bt ren Fil degree Bt bfre dings, he mated 1 foie Himself oith the technique of the guitar. This was in seth ed fom ka oe : place fx Paris shortly ofter the war, ‘ohen one day he met Henri Pronitres, editor of the newly founded Revae Musicale, oho asked hima to do an article for {pedal ar desicatdto the memory of Cle Debus Fels Zaid he preferred to worite a musical ork that mould dans Grtnade or La Paersa del Vino, which exes its nepration to ‘a postcard Fall had sent to him. Finally, he wrote bot the article (thd the msc, the latter fn the form ofa pec or guitar, which he (quickly dgpaiched to Llobet. This wos Homenaje, published in ‘Respecal ramber of LaRevae mascale, December 1,920 nan [nse entitled Le Tombeas de Claude Debussy, Falls homagelies boside those of Dukes, Rowsel, Malizieo, Eugene Govsens, Bartdh Florent Schrati, Straninsky, Ravel and Extk Satie. “The fects mentioned in the above quotation by Suzanne [Demarquez are historical and critical, and Iam not aware ‘that anybody has ever challenged them; but there is an insidious “cover up” involved here: Nobody denies LLlobet’s contribution but few mention itor publicize it at times when itseems only proper and fair todo so. One final point in reference to this work. At the end of the book of Madame Demanqued’ there is a complete list of the works of Falla, beginning with “childhood dons” end jpctically unknown not only to the Fo most of Fala’s admirers. The last of these is a Reorches- tration to the Overture to the Barber of Seville, Homenaje & Debussy is, of course, included, details concerning the frst performance andits publication, cie,, bat there is no mention of any other guitar pice by Fel, [repent there only oe gars tn “greatest of the Spanish contemporary masters. fore, the rumors and speculations that he wrote “several pieces” for ont instrament—which show a strange and [Fabborn resistance to fading away, inspite ofthe strongest tevidence to the contrary-are simply novking more than thar: irresponsible end unfounded ramors. orsne itis rather melancholy that Thave to say that one of the greatest disappointments of my stay in Barcelona 48 ‘aised his arma, half way, in an expression of mld disap- ‘pointment and added, “OF course, he never takes the FRmmttor to gp down. He uses it only then he goes up. Idd cirevun Kaw he was comming to seme. He arrived a short ‘hile ago and dropped in t0 say hello:” I was so disop- limes ocelot ay eying ,. [had my lesson and went pee Lo cof te salar eee : eae ween i Sil or al Vow fy ee ito tn Sn ‘more wrong than I have ever been. ea i i 1 very. met et Tieton 2eadying with Llobet almost two when he decided io and he invited him 10 ny es A ay absence from any edna Se lng fom rivoz listener, was alee distusbing to me, especially vance the Hstener was a recognized master, a pupil of Tér- rope, Hwee, Pool ve Senate Totared.Iplayed a few minuets by Sor— then apiece by Granados. ‘wont better than {had expected. Pujol said very little and at that he said it to Llobet in 7 felt more confident and suddenty thought,i Ue Me Aeoet Pat clse for chat matter?” So I decided to take a chance and ‘announced chat | was going to play the Ritmas Camperos from the Evocaciones Criollas by Alfondo Broqua. Pujol knew to be hard-to-grasp for even a i, no matter how talented. Of course, it was toa non-Spanish goitarict. Whea I finished, Pujol jst tamed Jn fact, Thad started years old, and at that moment I the iat, ren if a ong rolled wth ren (Asa ‘matter of fect, I thought that my Rite tnos Camperts deserved 2 wele box ofthe bes Upmann (iige He oe wind exoncaty wh Eo Pol, Alo Diz end André, Segovia, 3hen eater 28,208 pty tet Poet Faltor’s note: This art fret appeared fret appoeredin the journal Soundboard GFA publication han in the 1968 Orphbe Catalogue, EMILIO PUJOL A Biography By Ronald C. Purcell Bam tote oy of Lard, Spain, nai vag cated Gonads Eito Pl Vin (Ap 7,166 November 1,18) scone Symon 3 led Spokesman rene corny Gitar pecogegy ne Pe VA na aie began his music tudes in stfoggio al the age of ve withthe rector of he vilage bend. These lessons were fo continue sfter he bocame a Student at the Municfpl Schoo! of Musi in Barcclone. By 7897 he bogan his studies on ta bandurin and was one ofthe suidente selected ‘eflrm at he Pets Exibion (1000) wen tna famous Catlonian Bonus nd Gul Ofehecta Cauda ne pera Por his ie (1898-1900) Emo's fathor was intent on his studying engineoring atta Univers of Barcelona. Howaver, ds to a tong bout with lsc Elo was doin rm his studs in is fk anc managed to conanca hie for, Or. Den Ramon Pu thot he ad ase poet music, Eventually he was able fo obtain his ethers permission fo continue his endeavors In suse, agen se i Franc Te ate) caper Baten 0 en be won en yap, ‘yas hele when Miguol Uobet ate 1 ws making his debt asa concrt artist uted of Barcelona Pua arly remastered bis Esteneourtor wa Treg and ins apropos osha he carcbod ie mseee (eooien a ieee a ‘cms (Nate 2). He sew the 49-year-old Targa os graying, wih tong beordin ts iy of the Spanish panne Darter Hs fest flew eseons son wh fh mouta deat ony wh potion, ning ef and ght hod petonina, nd harony,Thereter, érogete fe i cre ey nS er ey pci ape ate a ae oP us) ands, an ted eres sessions ne aferoon, sera teak tar umar and ret (a he eogaphs of fap faee nethe ath, ue pracion een digi ak pf fii) a sdeswoud gether cain ni ‘cg ie {etsion Tago woud personaly Busate varus gular works, orignal or antrbed tad would proceed ice eae he hd paely prepare fortis clas. The pean veal tien bo dacustd by Titega wane schol Ch re ee ‘ajo ga his Frat recislin Lerda in 1907. His conser debut in Bercelona took placa in May, 1909, at the “Sela Novell” soverl manths before Titrege' cea. By 1912s crear as concert quer was exiablshed by his appacranca ot Dochetsin Hal (oday brown as he Wigerach ‘London, atorating on the bil with pianist Conde Souza {Note 2) eu Pmtncnerteen 55.aro Spe 7,200) esata et 2a ingsip wn to Spare court pints, Pato Aono de Bj prapared tho wy fr anater impart sncart—Bis st appearance at Bei Atranin iss. Shor erste, bo prone a po appeatancs Sere te Roya aly of acid were Pancats sv, Don ‘ioneo Yn nd cen Vicor wee presen Fra 1921s concr acts ok tim may frashox West Exrope Dung he yar 7014101 (rd ar he itt ae ae Tatras na cncet haves vaste tnrsoe alone ae 10, on Anal Segue ato Soran cana nv yer ie arg i on been = fetter no ave hel earn Pa ani noel proascenors fe Guar Te gern Sense Wed War Fond fn fom carsnghin once one roe cri ces a muestogy wore contd unt ha stage fh ced Casa compe andisnitn of Seah mi, Fea Podrel (4-122, He conthand i muclca tacos unde opel doa taurnce (167-1855), fas Lies) 1928 att ‘Conservatory of Paris, These studies resulted in an of he frst encycloped histories of tha guitar ented "La Guise", published in Lavignacs Ennyolopedis do la Musique et Dconnnire cu Conservator (Note). His career in geroring on stage continued unabated. However, more time was spent in bislorical research, much ofan the Golden Age ofthe Spanish vines, His programs during is ime (1626-27), caralnod the raise ofthe viele and Baroque gular. He began to ude extensive tes inhi concerts and would occasionally Iecture an perform works no found in fis research I January, 126, Pujol atthe Jeoquertar André Wceura ia Pats, he oly erginal exariple of a viuela fom fhe shieoih century whichis known today ‘Api the samme year, tro Spanish hbier, Miguel Stapf, produced a copy of his viucla which Pujot used in is concars. ‘Pujof's publishing ceraer bogan a in 1915 with Ildefonso Ale (Mote) n later years, one of his older contemporaries, aso a student of ‘Tarregats, Daniel Fortea (1872+ 2 publishing house in Rachid, and in acBion to original works and arrangements by Peso, also ‘epider ectones Aer pions Me 1) He concer Argeti cpa t o e {Bula of hs won of Hoes and Grenades wae eso pubahed by Caen Romero Pemende : Alter his ial research into vinuea musi, Pwol made is largest and most important conrutions to guitar erature with he publishing house of ‘ax Esch (estobiched by Mciton Eschig, 1872-1927, Ia 1907) in Pas. Bognrng in 1828, the ten Pavan 1, and Mt were published by tis ‘fam under ho series tl, “EMILIO PUJOL, Efbiothaque de Musique, Ancienne et pour Guitar, (Nate 123" Pujol was given the fils of [Director for ins sores in 1828 and by 1260 he had published mere than 245 works with Escig Ncke 12) The ediions of viola an Baroque ‘guar mic puliched by Pupl wit vax Eschig became popular amorg guards and htenits. Undoubtedly, tis popularity was influenced by the ferformences of Andrés Segovia of pieces from these edlcns, immoditty er the Socond World War. Anoiner majo cortrzion by Pujol ocx rowedge of the Baroque guitar, was the aricle snd booklet published on one of his countrymen - Dr. Joan Cares Amat (1572-1642) (aie 3), “This investigation and te ifonmion rived from f naviably fed Pujol ino the shud of alan and Franch gutarss cf the seventeenth century. ‘Another 40 us warts, wore pubehed with RisorchAmercana, 8. Schot Jufo Kor, Buenos Aires, and Bibteca Fort (Note 1) Of iret te Rear Aneaga pation of etme th Essie Reson oa Gutre, (ou yes phe, fe fh {Pitors note: See” A Theovaca: Practical Malhod fo dpe Cua. based onthe pancpls of Franco Térega, Pretce by Manvel So Fate Boks lane ante by Bran Jeary. Eeted by Matarya Opheo. Pst Engh language versian) Shorty fer complating his book, La Gufara y su Historia (oie 15) and is research into te rusic forthe vuole and Baroque gut, Poh Fegan to give ilustrated resale beginning n London, 1928. Ono ofthe review in ho Guide Musical, Paris (1828) rofrs to him as a... vituose et pedagogue.” fy dacs). These events prepared the grcund work for Pujls Escuela Razonade de fa Gureyra. (The Rational Schock ofthe ‘Euan, Some pars of he hock, La Guten y su Historia contain he basi outine to Veume Ifthe Escuela. Téroga’s nuance is referred ‘many times by Pujol traughou these works wll 2 in is Biography on Térrega in which he ciscussed his ales to assemble he tactings ‘fhe master" ied uneuccessflly, many tines fo bring ogehor exafises, studies and poces of many manuscripts given out to students and ‘hires to forme principles aid aesthetics of my eaeher, Taroga. (Teday, many fauly edtions exist)” However, whether oF nat ther is an infuence, the didactic spit of Térrega has been earfily preserved within the Esouel, eeprom ine rat nen tate sepinteete tret ce e ee fare ter eaten acta nacie ree ee merece Comite his ook tbe the pmo ofa vo seal an egercoa Furlan a ol spvesran fr is ef cul toner Period in Spanish music (Note 16), 11846, Pujol bogan his guitar ceases atthe Lisbon Consorvatory of Music which continued through to 1969, perhaps the st instance ofthe guitar nan academic inetition, During tis period he was involved in giving masterclasses (in 1953 he was personaly invtod by Segovia gr scsi AccoinCnan ae eg ar crpntons, oo sre, Pu Sey hi Caso, pnd oy, {@855) and seven years tater he tarred Maria Adelaide Robart, a noted Portuguese pianist and singar who great assisted hii his final yaars. puerta, 36 EEeeasanaeuaniaeen ete 2,200) ipl t one ‘Atthe Alfonso X Award Dinner, Pujol autographing a programme for Ron Purcell who is talking to Maria Adelaida Pujol Robert. Sega nef 18, Planch een oxacs Guo, nda cy tn, ra, Te setecae pu and was indents and teachers om toughou te wor! (Ne 1) Iwas repeater every surer ove a oved, andin 1972 Rwas moved oe biteantceriuryvalage of Cavern, reat Mestre Puts pedagogical and musicalogial contributions othe word of guitar ara eigpicartin that ha intated the format on which fara ‘contrat ‘well as benefited. His words on Térreg's School of Guitar are also aplleabe to Bis av apt wich canstandy Stived to “esolving in advance al he problems which can arse out of te diverse elements which contributo fo the performance of a work. Inseurent, hands snd spr.” “This att of bond him he mark of his own personal tort. Time self wall choose those lemme of his teaching which wit ead most surly to End Notes 4. For further information on tis aft see the booklet accompanying he recording MIGUEL LLOBET (1678-1900), & Maestro Records, E14 {80,1962 Also sea Chantelle Historical Recordings CHR O01 and to fve-volure sto tis music published by Charerlle Verag, Hidebera, Gormany, Ratu fo tax 2, Emo jot Téroga, Ensayo biogratica, Afonso and Mts, LOA Lisbon, 1960. Return fa ext | Juan Rers: EMILIO PUUOL, Inst de EstucfosRerdenses, Leda, Spain, 1074, Rebum io teat 4 Ensayo, op cit Return oie 5, Op. dk, MIGUEL LLOBET. .. the bookot in his rosrding contain an English rslaton of Lobots eulogy whicn was spareely detrbited ‘by Rowes, c. 1910, Pais in is eulogy, Unbot expresses his foslings andthe mearing of Térraga’s loss tothe ruseal world, Retum 2 set 6, Quoted by Riera. op. ct, p. 25. Retum i sext 7. Sea mtict in SOUNDBOARD, Vol Vil No.2, ay, 1981, p. 65-6, ened “Eno Pl in Memoriam? Refunm fa tet 1, See-Vol. 2, pp. 1987-2035, published by Delograve, Paris, 1928. tur fofext 9. A.1919Netoneo Alor ealalogue ted eso works by Puja: Cancién de Cuna, Hoja de bur, Romanza, The Vicar of ray, A és, ‘rcrcpe, Are Wands and an arangament cf a Bercouse by Wagner, Retum fest, bee 10, Segovia azo published his fret original works wih Bivitece-Fertoa, Return fo ext 11. Thete frst edtions ware also covered with a B. Schotts Sohne wrapper, ised uncer thelr “Gutare-Archi series of pubictfons. Return Jolet 12. Juan Rira, author of EMILIO PUJOL, gives the deta of 1928, However, the fist work menitonad above under thie te is dated 1928. Retum doles 19, Eno Pujol“Sinifcaciin de Juan Caries frat, ena Historia dela Guitare, 1572 a 1642" etcte in Anvaro Musket del LE. do Musicotogia, efter tteohn 37‘tn Seomater2,7001 asap: eet Pome Vol V, Barcelona, 1950. Rotum tofeat 14, Ror, in is ography of Pujol dd nat this many ecntibuions to he GUITAR REVIEW, wich inched aitctes in Nos. 5, 6,16, and 17 - "Invocacién’ 1 Alamo y elDoncel”"E de Nite, Pax Eseuro. and”ABporada to Fiesta en ta Alea” 0nd ovedeoked te ‘numerous Wax Eschig edtions printed by Schot & Co, under the “Cult Archives” wrappers. 168. Pubishodiy Casa Romeo Y Feméndez, BA. ; 1928; Remote 16, {am tito Men Pl oe warn esitance nh apron omy hess Eston Do, EL PARNASSO 2a. Catia ‘State University, Northridge, California, January, 1872. Fefuriotext id sea 17, See John Roberts: GUITAR TRAVELS, Valencia, Spain, 1977, wich contains some astute observations, witcioms and remilinge-on of the Pajol castes. Rebun tort, a Coppight © 1996-28 by Ronald. Parcel. Al Right Resorved. Index 20th-Century. SBpoata Copyright © 2998-2000 Selcorde.org- All Rights Reserved 58